Utilidad de los conceptos y estrategias comunitarias en el marketing online para la prevención de la copia ilegal en el mercado musical

Esta investigación se dirige a determinar cuál es la utilidad de los conceptos y estrategias comunitarias en el marketing online para la prevención de la copia ilegal en el mercado musical. Con este proyecto se desea que por medio de una nueva disquera enfocada en el comercio online, y usando los conceptos del mercadeo comunitario y el mercadeo relacional, se pueda desarrollar nuevas estrategias de mercadeo en donde se logre incentivar y promover la compra de música original por medio de la creación de una relación más estrecha entre la compañía y el cliente, en la cual pueda afectar de forma positiva a la comunidad a la que este pertenece. El objetivo general es determinar cuál es la utilidad de los conceptos y estrategias comunitarias en el marketing online para la prevención de la copia ilegal en el mercado musical. Los objetivos específicos son: 1. Mostrar la utilidad de los conceptos y estrategias del marketing comunitario en la prevención de la copia ilegal del mercado musical y 2. Implementar las estrategias logradas en la investigación en un plan de creación de empresa. Se utilizará el método de investigación y análisis de caso, utilizando el plan de empresa en la creación de una empresa del mercado musical, tomando la relación estratégica comunitaria y el marketing dentro del plan de mercadeo como estrategia para la prevención de la copia ilegal. Mediante este proyecto se desea que por medio del marketing relacional y de los conceptos del mercadeo hacia comunidades, enfocado en une- marketing sepuedanestablecerestrategiasparalaprevencióndelacopiailegalydelacomprade estos productos Además, se busca implementar dichos resultados en la empresa que se pretende crear en el sector de la industria musical, puesto que la seguridad que tendrán los productos a la venta, serán la ventaja competitiva de la empresa.

Multi-modal fingerprinting for multimedia assets: optimisation of media security protection in online distribution environments

Since the advent of the internet in every day life in the 1990s, the barriers to producing, distributing and consuming multimedia data such as videos, music, ebooks, etc. have steadily been lowered for most computer users so that almost everyone with internet access can join the online communities who both produce, consume and of course also share media artefacts. Along with this trend, the violation of personal data privacy and copyright has increased with illegal file sharing being rampant across many online communities particularly for certain music genres and amongst the younger age groups. This has had a devastating effect on the traditional media distribution market; in most cases leaving the distribution companies and the content owner with huge financial losses. To prove that a copyright violation has occurred one can deploy fingerprinting mechanisms to uniquely identify the property. However this is currently based on only uni-modal approaches. In this paper we describe some of the design challenges and architectural approaches to multi-modal fingerprinting currently being examined for evaluation studies within a PhD research programme on optimisation of multi-modal fingerprinting architectures. Accordingly we outline the available modalities that are being integrated through this research programme which aims to establish the optimal architecture for multi-modal media security protection over the internet as the online distribution environment for both legal and illegal distribution of media products.

Internet e direito autoral: o ciberespaço e as mudanças na distribuição da cultura

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Um modelo de detecção de eventos em redes baseado no rastreamento de fluxos

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Modelo estrutural para compartilhamento de arquivos peer-to-peer

Pós-graduação em Ciência da Computação - IBILCE

Redes sociais na Internet: uma investigação sobre práticas de compartilhamento de arquivos no Facebook

The social networking sites have experienced a large and rapid growth in recent years and bring together millions of users in Brazil and worldwide. Such networks allow adding groups of people with common interests or relationships, enabling members of this group to communicate and exchange information. Some social networks have specific goals, for example, aggregate individuals with common interests and professional relationships. However, they all share information in some way, whether in the form of short texts, photos, videos, among others. Sharing information in files is also a growing activity on the Internet and can be done in various ways, from sending files via email to multiple contacts to make available areas shared by the same contacts. However, applications are not yet available to enable file sharing on Facebook, considered the premier social network today. Given the growing demand for sharing files over the Internet, and a large number of users familiar with the use of these integrated applications for Facebook there is a demand for applications that allow users to share files with their contacts in this social network. This study aims to investigate how users use Facebook, and their practices for file sharing. It is believed that the results will substantiate future projects to develop software for file sharing on Facebook. Due to the exploratory nature of this research, the choice was made for a survey to collect data, applied through the web. From the results obtained, was possible to observe a frequent use of file sharing, but no interest in paid services. Regarding Facebook, was possible to observe their extensive use in both the frequency of access as the hours spent, as well as an increased use of applications (games, quiz, etc.). The full set of results shows a favorable environment for developing applications for sharing files on Facebook.

Web 2.0, contenuti aperti e produzione tra pari: analisi economica delle possibili sinergie.

Analisi in chiave economica e sociale dell'evoluzione di Internet, delle tecnologie legate al Web 2.0, dei fenomeni della pirateria, del software libero ed open source, del copyleft, dei contenuti aperti e della produzione tra pari. Introduzione dei concetti di economia del gratis ("freeconomics") e di coda lunga. Consigli manageriali pratici per i nuovi mercati digitali e per la competizione nella rete Internet.

Bittorent Loses Again: A Recent Lithuanian BitTorrent Case and What It Means for the Construction of the E-commerce Directive

This article first discusses a recent Lithuanian BitTorrent case, Linkomanija, with its shortcomings and perspectives. It then compares the outcomes of the Lithuanian case with recent court practice in Scandinavian countries (the Swedish Pirate Bay and Finnish Finreactor cases). Finally, it poses some questions as to whether BitTorrent sites should be qualified as hosting services under Article 14 of the EU E-commerce Directive (2000/31/EC) and whether the application of the limited liability standard, as developed by the Court of Justice of the European Union, would be reasonable for BitTorrent file-sharing services in general.

The Application of Digital Rights Management Systems in the Music Industry - An Empirical Investigation

Technology advances in hardware, software and IP-networks such as the Internet or peer-to-peer file sharing systems are threatening the music business. The result has been an increasing amount of illegal copies available on-line as well as off-line. With the emergence of digital rights management systems (DRMS), the music industry seems to have found the appropriate tool to simultaneously fight piracy and to monetize their assets. Although these systems are very powerful and include multiple technologies to prevent piracy, it is as of yet unknown to what extent such systems are currently being used by content providers. We provide empirical analyses, results, and conclusions related to digital rights management systems and the protection of digital content in the music industry. It shows that most content providers are protecting their digital content through a variety of technologies such as passwords or encryption. However, each protection technology has its own specific goal, and not all prevent piracy. The majority of the respondents are satisfied with their current protection but want to reinforce it for the future, due to fear of increasing piracy. Surprisingly, although encryption is seen as the core DRM technology, only few companies are currently using it. Finally, half of the respondents do not believe in the success of DRMS and their ability to reduce piracy.

Modelling human behaviour and event detection from videos

Automatic analysis of human behaviour in large collections of videos is gaining interest, even more so with the advent of file sharing sites such as YouTube. However, challenges still exist owing to several factors such as inter- and intra-class variations, cluttered backgrounds, occlusion, camera motion, scale, view and illumination changes. This research focuses on modelling human behaviour for action recognition in videos. The developed techniques are validated on large scale benchmark datasets and applied on real-world scenarios such as soccer videos. Three major contributions are made. The first contribution is in the area of proper choice of a feature representation for videos. This involved a study of state-of-the-art techniques for action recognition, feature extraction processing and dimensional reduction techniques so as to yield the best performance with optimal computational requirements. Secondly, temporal modelling of human behaviour is performed. This involved frequency analysis and temporal integration of local information in the video frames to yield a temporal feature vector. Current practices mostly average the frame information over an entire video and neglect the temporal order. Lastly, the proposed framework is applied and further adapted to real-world scenario such as soccer videos. A dataset consisting of video sequences depicting events of players falling is created from actual match data to this end and used to experimentally evaluate the proposed framework.

File Transfer Protocol

The discourse surrounding the virtual has moved away from the utopian thinking accompanying the rise of the Internet in the 1990s. The Cyber-gurus of the last decades promised a technotopia removed from materiality and the confines of the flesh and the built environment, a liberation from old institutions and power structures. But since then, the virtual has grown into a distinct yet related sphere of cultural and political production that both parallels and occasionally flows over into the old world of material objects. The strict dichotomy of matter and digital purity has been replaced more recently with a more complex model where both the world of stuff and the world of knowledge support, resist and at the same time contain each other. Online social networks amplify and extend existing ones; other cultural interfaces like youtube have not replaced the communal experience of watching moving images in a semi-public space (the cinema) or the semi-private space (the family living room). Rather the experience of viewing is very much about sharing and communicating, offering interpretations and comments. Many of the web’s strongest entities (Amazon, eBay, Gumtree etc.) sit exactly at this juncture of applying tools taken from the knowledge management industry to organize the chaos of the material world along (post-)Fordist rationality. Since the early 1990s there have been many artistic and curatorial attempts to use the Internet as a platform of producing and exhibiting art, but a lot of these were reluctant to let go of the fantasy of digital freedom. Storage Room collapses the binary opposition of real and virtual space by using online data storage as a conduit for IRL art production. The artworks here will not be available for viewing online in a 'screen' environment but only as part of a downloadable package with the intention that the exhibition could be displayed (in a physical space) by any interested party and realised as ambitiously or minimally as the downloader wishes, based on their means. The artists will therefore also supply a set of instructions for the physical installation of the work alongside the digital files. In response to this curatorial initiative, File Transfer Protocol invites seven UK based artists to produce digital art for a physical environment, addressing the intersection between the virtual and the material. The files range from sound, video, digital prints and net art, blueprints for an action to take place, something to be made, a conceptual text piece, etc. About the works and artists: Polly Fibre is the pseudonym of London-based artist Christine Ellison. Ellison creates live music using domestic devices such as sewing machines, irons and slide projectors. Her costumes and stage sets propose a physical manifestation of the virtual space that is created inside software like Photoshop. For this exhibition, Polly Fibre invites the audience to create a musical composition using a pair of amplified scissors and a turntable. http://www.pollyfibre.com John Russell, a founding member of 1990s art group Bank, is an artist, curator and writer who explores in his work the contemporary political conditions of the work of art. In his digital print, Russell collages together visual representations of abstract philosophical ideas and transforms them into a post apocalyptic landscape that is complex and banal at the same time. www.john-russell.org The work of Bristol based artist Jem Nobel opens up a dialogue between the contemporary and the legacy of 20th century conceptual art around questions of collectivism and participation, authorship and individualism. His print SPACE concretizes the representation of the most common piece of Unicode: the vacant space between words. In this way, the gap itself turns from invisible cipher to sign. www.jemnoble.com Annabel Frearson is rewriting Mary Shelley's Frankenstein using all and only the words from the original text. Frankenstein 2, or the Monster of Main Stream, is read in parts by different performers, embodying the psychotic character of the protagonist, a mongrel hybrid of used language. www.annabelfrearson.com Darren Banks uses fragments of effect laden Holywood films to create an impossible space. The fictitious parts don't add up to a convincing material reality, leaving the viewer with a failed amalgamation of simulations of sophisticated technologies. www.darrenbanks.co.uk FIELDCLUB is collaboration between artist Paul Chaney and researcher Kenna Hernly. Chaney and Hernly developed together a project that critically examines various proposals for the management of sustainable ecological systems. Their FIELDMACHINE invites the public to design an ideal agricultural field. By playing with different types of crops that are found in the south west of England, it is possible for the user, for example, to create a balanced, but protein poor, diet or to simply decide to 'get rid' of half the population. The meeting point of the Platonic field and it physical consequences, generates a geometric abstraction that investigates the relationship between modernist utopianism and contemporary actuality. www.fieldclub.co.uk Pil and Galia Kollectiv, who have also curated the exhibition are London-based artists and run the xero, kline & coma gallery. Here they present a dialogue between two computers. The conversation opens with a simple text book problem in business studies. But gradually the language, mimicking the application of game theory in the business sector, becomes more abstract. The two interlocutors become adversaries trapped forever in a competition without winners. www.kollectiv.co.uk

Sharing in the Rain: Secure and Efficient Data Sharing for the Cloud

Cloud storage has rapidly become a cornerstone of many businesses and has moved from an early adopters stage to an early majority, where we typically see explosive deployments. As companies rush to join the cloud revolution, it has become vital to create the necessary tools that will effectively protect users' data from unauthorized access. Nevertheless, sharing data between multiple users' under the same domain in a secure and efficient way is not trivial. In this paper, we propose Sharing in the Rain – a protocol that allows cloud users' to securely share their data based on predefined policies. The proposed protocol is based on Attribute-Based Encryption (ABE) and allows users' to encrypt data based on certain policies and attributes. Moreover, we use a Key-Policy Attribute-Based technique through which access revocation is optimized. More precisely, we show how to securely and efficiently remove access to a file, for a certain user that is misbehaving or is no longer part of a user group, without having to decrypt and re-encrypt the original data with a new key or a new policy.

Sharing through Collaborative Spaces: Enhancing Collaborative Networks Interoperability

Part 14: Interoperability and Integration

Does The Reciproc File Remove Root Canal Bacteria And Endotoxins As Effectively As Multifile Rotary Systems?

To evaluate the effectiveness of Reciproc for the removal of cultivable bacteria and endotoxins from root canals in comparison with multifile rotary systems. The root canals of forty human single-rooted mandibular pre-molars were contaminated with an Escherichia coli suspension for 21 days and randomly assigned to four groups according to the instrumentation system: GI - Reciproc (VDW); GII - Mtwo (VDW); GIII - ProTaper Universal (Dentsply Maillefer); and GIV -FKG Race(™) (FKG Dentaire) (n = 10 per group). Bacterial and endotoxin samples were taken with a sterile/apyrogenic paper point before (s1) and after instrumentation (s2). Culture techniques determined the colony-forming units (CFU) and the Limulus Amebocyte Lysate assay was used for endotoxin quantification. Results were submitted to paired t-test and anova. At s1, bacteria and endotoxins were recovered in 100% of the root canals investigated (40/40). After instrumentation, all systems were associated with a highly significant reduction of the bacterial load and endotoxin levels, respectively: GI - Reciproc (99.34% and 91.69%); GII - Mtwo (99.86% and 83.11%); GIII - ProTaper (99.93% and 78.56%) and GIV - FKG Race(™) (99.99% and 82.52%) (P < 0.001). No statistical difference were found amongst the instrumentation systems regarding bacteria and endotoxin removal (P > 0.01). The reciprocating single file, Reciproc, was as effective as the multifile rotary systems for the removal of bacteria and endotoxins from root canals.